vase with lotus flowers

vase with lotus flowers , late 1200s–1300s, Goryeo dynasty (918–1392)

Where object was made: Korea

Material/technique: stoneware; cheongja ware; celadon glaze; sanggam inlay

Dimensions:
Object Height/Diameter (Height x Diameter): 29.9 x 21 cm
Object Height/Diameter (Height x Diameter): 11 3/4 x 8 1/4 in

Credit line: William Bridges Thayer Memorial

Accession number: 1928.0411

Not on display

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Nature/Natural

The Koryo period (918-1392) is well known for its extremely high quality of celadon. The unique, exquisite color of celadon can be obtained through an arcane method of firing with reduced oxygen. Celadon wares first appeared in the 11th century and the technique was subsequently further refined. In the 12th century, pure celadon emerged and was used by aristocratic households and Buddhist temples. Koryo pottery reached its peak in the first half of the 12th century, when artisans accomplished the remarkable advance in the technique of inlaying and drawing designs on celadons.

Koryo celadon is widely acclaimed as the best and finest type of pottery for its subdued yet clear, high-spirited bluish-green color, its graceful, flowing curves, and its vivacious shape. Furthermore, Koryo celadon, with its poetic inlaid designs and especially its inlaid copper whose color is artfully transformed to look red, is the first technique of its kind ever known in the world and represents the apex of Koryo pottery.

Archive Label 2003:
The two flat sides of this sizeable vase are decorated with symmetrically arranged lotuses complemented by sprays of blossoming reeds. The neck and base are encircled with bands of overlapping lotus petals. These elegant designs were created by inlay. Chinese potters used the inlay technique, and Korean potters, drawing on metalworking and lacquer-ware skills, further developed it.

Inlay became the decorating technique for celadon wares only after a glaze of sufficient clarity was developed in the first half of the 11th century. The time-consuming process begins with incising the chosen motif into the leather-hard clay body. The incision is then filled with white and black slip. The decorated piece is fired first at a low temperature, covered with a celadon glaze, and fired a second time at high temperature. This vase is a good example of clearly visible designs under a thin, transparent glaze.